CLUBBING TWISTED NUCLEUZ TOUR THE ZODIAC SUNDAY 25TH MAY Ed real, Ryan H and James lawson feature in a bank holiday break-beat hot-house tin-trance rave down. GIGGING BRITISH SEA POWER THE ZODIAC FRIDAY 23RD MAY Routh Trade debutantes dubbed the “lunatics” from Brighton will no doubt be peddling their particular brand of lunacy.
ARCHIVE: 4th week TT 2003

As with everything Depeche Mode, Paper Monsters is a bit hit-and-miss. The spooky, hallucinogenic paranoia of the thick strings in ‘A Little Piece’ is undermined by execrable Hawaiian guitars in ‘Hold On’, and Gahan always seems intent on having one Marilyn Manson-esque pulsing industrial number as in ‘Bottle Living’. ‘Black and Blue Again’ is perhaps the most challenging song, an unpromising start builds slowly to a noisy climax of Reznor proportions with the nicely understated vocals proclaiming “I’m not very nice”. In fact, it wouldn’t surprise me if Gahan is hoping to get some of this stringbased material on a future David Lynch sountrack; some tracks are similar to the work of Angelo Badalamenti. Out come the corny 808 drum sounds for ‘I Need You’. Was that really necessary? Out June 2
ARCHIVE: 4th week TT 2003

NYC Man is Lou Reed’s first self selected greatest hits and it certainly does a good job of representing a career which has spanned some thirty albums. This double album gets the balance between the songs you do know, and the ones you should know, just right. There are only four original VU tracks, but Reed’s solo versions of ‘I’ll Be Your Mirror’ and ‘Heroin’ are must have renditions. There are the usual Transformer suspects, and unsurprisingly Reed takes the opportunity to plug his most recent release: the opening track is ‘Who Am I’ from The Raven. This selection is a great first step towards discovering one of the true geniuses of rock music. Out Now
ARCHIVE: 4th week TT 2003

Noel Coward’s bisexual ménage a trois has lost none of its audacity in the seventy years since it was first performed on Broadway. This week Anomie Productions, the team behind the Talented Mr Ripley at the BT in Michaelmas, stage Coward’s resonant tale of the love triangle between a playwright, painter and an interior decorator and the development of their relationship in London, Paris and New York over a number of years. Director Hugh Montgomery remains faithful to Coward’s original concerns. This was a very personal play for Coward, based on his own experiences, and performed in New York to avoid the sanctimonious outrage the play would have raised in London. Montgomery resists the temptation to vamp the production up to compensate for the blasé attitude an audience of undergraduates will have towards the polysexuality of the piece compared with Coward’s audience. Montgomery’s is a confident production that doesn’t need to sensationalise to express the moral torpor and emotional immaturity of the characters. The heart of this play is of course the tripolar relationship between Otto, Gilda and Leo. And while John Walton is his usual dazzling self as Leo and Katherine Gray fills the role of the amoral Gilda beautifully, the threesome is compromised by Australian KA barman Richard Cornally’s Otto. While the dynamic between Walton and Gray at the start of the play gives off a sense of champagne- flute ennui and cosmopolitan decadence, Otto comes on like a Home and Away character mad as hell to find his sheila copping off with his best mate. Throughout the production Walton ponces, Gray wafts and Cornally fails to fit in. With his thick Aussie accent, his skinhead and ear stud, it’s like Romper Stomper meets The Importance of Being Earnest. Cornally is a perfectly good actor and is certainly telanted enough for such a large role in an OFS play, but is almost fatally miscast in the role of Otto. What saves the play is the command that Montgomery and his team have over the script. The excellent Coward set-pieces are handled perfectly. Gilda’s husband Ernest (Daniel Cooper)’s reaction when he comes home to find two gay men in his pyjamas demanding his wife is spot-on. What really impressive is how sympathetic this production is to the moral ambiguities of the script and the astute observation of the loss of authenticity the characters experience in their desperate craving to fill the holes in their lives with sex, success and stability. As the play progresses and the characters find themselves being subsumed by their public roles, the set decoration washes out from vibrant colours in the opening scenes of idealism and passion to washedout costumes and diluted furniture drapes towards to the end of the play. Anomie productions have shown guts by refusing to put on an unthreatening anyone-for-tennis? Coward play you’d expect in late May on the Oxford stage. It’s not Ibsen, but this adaptation of Design for Living reveals a pleasantly surprising maturity in the playwright and production team that should make for a rewarding emotional challenge before we begin idling our evenings away in front of indulgent lawns plays.
ARCHIVE: 4th week TT 2003

What do you get when you blend together some black comedy with a dash of theatre of the absurd, and add a sprinkling of political satire on the top? Accidental Death of an Anarchist by Dario Fo is as acerbic and darkly raucous as it sounds, and the Wadham Moser production teeters on the brink between slapstick and in-your-face propaganda. This political farce, based upon the mysterious death of Giuseppe Pinelli, an anarchist railwayman, traces Inspector Bertozzo’s (played by Sam Lyon) increasingly desperate attempts to solve the enigma of Pinelli’s death. He is tormented all the while by the maniac (John Jenkins), who knows far more than he claims, and enjoys wielding this power over the sweaty detectives, who are kitted out appropriately in tacky police uniforms, complete with obligatory underarm sweat stains. Jenkins’ performance is lively and spirited, and he brings a wry edginess to the infuriatingly knowing maniac, who claims insanity but is savvy enough to know the precise psychological terms to describe his madness. However, he sometimes fails to be an endearingly ironic antihero, tending too much towards being irritatingly smarmy to the audience as well as to the hapless Bertozzo. He interacts well with Lyon, however, and their admirably choreographed tussles are pleasingly chaotic. Lyon’s portrayal of Bertozzo’s madness is somewhat heavyhanded, but he brings a feisty edge to the play’s dynamics. The Wadham Moser production has prudently veered away from the typical faux pas of staging Accidental Death of an Anarchist, ensuring that the political element does not drown in the sea of hyper-ironic self-reference, acerbic witticisms and slapstick comedy. This production uses projections of the protest rallies and state brutality, the most recent images being of the Genoa riots, as a reminder of the dark undercurrent of the play, the reality of violence and corruption at the core of the justice system. Another clever device is the Big Brother-style twist to this production, the play being imbued with the sense of being a documentary, certain scenes being replayed at intervals to express the plurality of perspectives in Fo’s theatrical landscape, which enhances the theme of deception and disguise that comes to the fore later in the play. Dario Fo maintains his wryly cynical stance throughout, and we cannot hope to satisfactorily solve the mystery of the anarchist’s ‘accidental’ death; in fact, the play raises more questions in our minds through the subtle nudges Fo gives us towards distrust in political and judicial authority. The Wadham Moser production may lack some subtlety of nuance and slightly hamfisted acting, but the innovative devices of which it makes use and its swift choreography make it a worthy production sure to push all the right buttons and leave the audience with a wry smile on their faces.
ARCHIVE: 4th week TT 2003

It’s a worrying sign if highbrow newspapers such as The Guardian have referred to Abi Morgan’s Splendour as the most “baffling” play of the Edinburgh Fringe, where it premièred in 2000. Think of how many “baffling” plays there are each year at the Edinburgh Festival; now imagine how abstract Splendour must be if it’s on top of the pile. To get the gist of Splendour, think: Virginia Woolf ’s wonderfully poetic novel The Waves transformed into a modern play. But comparing Splendour with anything else demeans its extraordinary achievement: Abi Morgan manages to subvert and reinvent the concept of theatre as we know it. On the surface it is a seemingly trivial snapshot of the lives of four women in an Eastern European city. Beneath this banal façade is an extraordinarily complicated texture of stream-of-consciousness monologue mixed seamlessly with fragmented dialogue. Micheleine is the wife of a dictator, and whilst waiting for him to arrive home she entertains three guests in her mansion, one of whom is a photographer waiting to take a picture of her husband. Micheleine appears to be the quintessential self-assured hostess with ample poise, yet there is something distinctly malevolent and quietly hysterical in her: the “hostess’ disease”, she calls it, and though this type of role has been performed countless times before, Pia Fitzgerald revives the exhausted stereotype. Helen Prichard’s controlled performance of the bitter photographer, Katheryn, brings sharply into focus the startling difference between the dark nature of our interior monologues and the contrived civility of the censored words that we actually communicate to one another. The impressiveness with which all four actresses master the fluidity between these intricate speech patterns is truly stunning. As one character narrates, another simultaneously interprets her speech, whilst someone else drifts into a nostalgic reverie. However, the result is sometimes too fluid: it leaves the audience uncertain as to what is actually being spoken, directly addressing another character; and what is actually thought out loud. This, according to director Luke Sandler, is intentional, but occasionally its complexity borders precariously on the pretentious. But fortunately it never stays in this exasperating territory for too long: under the competant and skilful direction of Luke Sandler, Collapsible Theatre Company succeed in transforming what could potentially be utterly mundane, incomprehensible ramblings into profound and insightful observations. They make the abstract seem tenderly natural, which is a feat rarely achieved with any reasonable degree of success. Splendour is one of the most beautifully innovative plays I’ve ever seen.
ARCHIVE: 4th week TT 2003

There is something inherently mysterious about the Oxford Revue: big names like Michael Palin and Alan Bennett are bandied around like secret handshakes. For one night only may the public infiltrate the depths of this inner sanctum of comic genius: do not miss it. Breaking with the age-old tradition of the habitual showdown with ‘the other place’, this year Cambridge have taken a hike. So, the show is Oxford dominated, divided into sketches by the Oxford Comedy Society, including stunning performances by a giant apple and a man in a grass suit (what more could one desire) followed by the Revue’s performance of The Lost Laugh. This is situation comedy at its most black and perversely funny. The ostensible plot follows Nelson (Drummond Moir) weedy, disaffected yet talented youth through a series of entanglements with a dead man’s ashes, a kinky priest and an aristocratic seducer. Yes, it all sounds very weird, and well, it is. Scene follows scene at breakneck speed, moving from the grotesque levity of an erotic encounter between Uncle Benjamin and Ms. Seeds to Susan’s gushing speech on the ephemeral nature of human life and the necessity of her boy’s return. Yet, the most memorable comic success is achieved by the numerous lines of sheer ebullient absurdity. Susan (Lauren Steventon) dismisses her son Nelson with the brilliant, “my hands can’t be bound with your umbilical cord” or “did I ever tell you Nelson, that you have your father’s penis?” A production like this really depends upon a strong cast and Jess Hurley and Lauren Steventon play their eccentric female leads with finesse, yet most impressive is Father Joseph who steals the show with his shameless indelicate comments and effusive over-acting. If you have a penchant for the macabre, and like to snicker wickedly at what is not quite politically correct, then the Oxford Revue will welcome you with open arms.
ARCHIVE: 4th week TT 2003

Sheridan is funny. He has an exceptional ear for rhythm, he is master of the situation and has the ability to fool the audience into thinking they are going one way and suddenly take them in a different direction altogether. This production does not exploit all the available nuances: Sir Peter’s blusterings, while impressive for their length, have little spirit, emotion or backbone to them, and Rob Marshall’s portrayal of Sir Peter Teazle certainly has the monopoly on aristocratic plumminess. During his domestic row, emotionally he stays on the same plateau throughout the scene: variety is out the window. This isn’t helped a great deal by the characterisation of Lady Teazle (Alexa Maddison): rather than manipulative coquettishness we get a slightly nervous adolescent. This is not an unnerving portrait of a poorly motivated marriage dressed in laughter, but an echo of a lover’s tiff dressed in pomposity. All in all, for a play with great potential for wit, verve and an acerbic critique of human interaction laced with cynicism, the production in Worcester College Gardens falls sadly short of the mark. However, Sheridan’s wit transcends the inadequacies of this performance, and the stunning setting guarantees an enjoyable evening.
ARCHIVE: 4th week TT 2003

The Labour Party Manifesto set a stiff challenge for the Party in Government – “our aim is to make the goal of ending child poverty in Britain a political litmus test for any political party running for office.” For me this challenge is at the heart of the Labour Party’s core values. But our ambitions do not stop with children. We have also set ourselves demanding targets to address pensioner poverty, joblessness and social exclusion. Our task is so urgent and so huge because of the divided society that the Tories left us with. We inherited one of the highest poverty rates in Europe, unemployment rose from just over 1 million to peak at 3 million and when we took office over 1 in 5 children were living in workless households. Since 1997 our policy has been to increase support for children whilst, through tax credits and labour market measures, helping parents into jobs and ensuring work pays. That’s why we have introduced both the New Deal, helping 1 million people into work, and provided record increases in child benefit, up 25% for the first child. It’s also why we introduced the National Minimum Wage, which by ending the scandal of poverty pay, both attacks poverty directly and also helps ensure that it pays to work. From this April the new Working Tax Credit will for the first time mean that all lower-earners aged over 25 – not just parents – will get in-work financial support. Together these measures put into practice Labour’s core values – getting more money, help and support to those who need it most. The average family with children gains £1200 a year, but the poorest gain £2400 a year. We want to go, and we are going, further. Childcare is essential in helping lone parents get back into work and since 1997 we have created over half a million childcare places. By 2006 we will have created a further 250000 places benefiting 1.6 million children. For pensioners we are introducing the Pension Credit in October that will provide a guaranteed level of income below which no pensioner should fall and rewarding those with small levels of saving. This reform of the welfare state together with our investment in public services is starting to yield real results in addressing social exclusion. We have seen a doubling of the rate of teenage mothers in education, employment or training from 16% in 1997 to 33% in 2001. We have also reduced by half a million the number of children in relative income poverty and of 1.8 million in the number in absolute poverty. With Labour we have seen a quarter of a million fewer children living in workless households than in 1997 and a million fewer pensioners living in absolute low income than 1997. We still have much more to do, as too many are still living in poor conditions denied the opportunities that many of the rest of us have. That’s why we have set ourselves tough targets of halving child poverty by 2010 as a step towards its elimination by 2020 and helping 70% of lone parents into jobs by 2010. As we move forward we must remember that poverty is about more than an arbitrary income level – poverty is a multifaceted problem. Addressing low income on its own is not enough and we must also prioritise the health, educational and housing opportunities of poorer people – tackling poverty of opportunity and aspiration, as well as deprivation in basic living standards. In our community in Oxford, the acute need for affordable housing, and meeting the needs of homeless people are pressing priorities. I have seen at first hand the contribution of many students who undertake voluntary work, at the Night Shelter, Simon House, the Bridge and other facilities. They deserve recognition and support, as do the students who provide the KEEN (Kids Enjoy Exercise Now) programme of recreational and social activity for disabled young people. I know how highly this is valued by the young people and their families. These sides of Oxford student life too rarely feature in the media, but they are more representative of the values of our student community than some of the stories which do! So at community and voluntary level, as well as through statutory agencies and Government there is a lot we can be proud of, but there is much more to do so that we bring into effect our values, making Britain a fairer society. Andrew Smith, MP for Oxford East, is Secretary of State for Work and Pensions
ARCHIVE: 4th week TT 2003